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Sobre Análisis De La Dramaturgia Costarricense Actual (2018), Bajo La Dirección De José Luis García Barrientos

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Sobre Análisis De La Dramaturgia Costarricense Actual (2018), Bajo La Dirección De José Luis García Barrientos Sobre Análisis de la dramaturgia costarricense actual (2018), bajo la dirección de José Luis García Barrientos About Análisis de la dramaturgia costarricense actual (2018), under the Direction of José Luis García Barrientos ELAINE M. MILLER Christopher Newport University, EE.UU. [email protected] Resumen: En este texto la autora reseña el libro Análisis de la dramaturgia costarricense actual (Madrid: Ediciones Antígona, 2018), dirigido por José Luis García-Barrientos. Palabras clave: dramaturgia, teatro, obra dramática, Costa Rica Abstract: In this text the author reviews the book Análisis de la dramaturgia costarricense actual (Madrid: Ediciones Antígona, 2018), directed by José Luis García Barrientos. Keywords: Dramaturgy, Theater, Play, Costa Rica Istmo. Revista virtual de estudios literarios y culturales centroamericanos 39 (2019): 105-111. Recibido: junio de 2019; aceptado: julio de 2020. Cómo citar: Miller, Elaine. “Sobre Análisis de la dramaturgia costarricense actual (2018), bajo la dirección de José Luis García Barrientos”. Istmo. Revista virtual de estudios literarios y culturales centroamericanos 39 (2019): 105-111. Web. 106 Elaine M. Miller Sobre Análisis de la dramaturgia costarricense actual (2018) En 2018, Ediciones Antígona publicó en España Análisis de la dramaturgia costarricense actual, un libro dirigido por José Luis García Barrientos, profesor de investigación del Consejo Superior de Investigaciones Científicas (CSCIC) de España, que cuenta con ensayos analíticos sobre el trabajo de los siguientes dramaturgos costarricenses: Miguel Rojas, Melvin Méndez, Jorge Arroyo, Ana Istarú, Guillermo Arriaga y Ailyn Morera. Este libro pertenece a la serie de diez volúmenes que componen el proyecto “Análisis de la dramaturgia actual en español”, que forma parte del Plan Nacional de Investigación y Desarrollo del Gobierno de España. El título del proyecto marca ciertos parámetros para su objeto de estudio. Su director, García Barrientos, define en el prólogo “drama- turgia actual” como “la que se escribe y se representa […] desde hace dos o tres décadas” (9) y considera “actuales” a “los dramaturgos nacidos en la década de los años sesenta o después” (10), y, tal como indican las palabras “en español”, el proyecto abarca dramaturgia actual “en el ámbito de la lengua española” (9). Cada volumen del proyecto se dedica al análisis de la dramaturgia de un país hispanohablante específico: Cuba, Argentina, España, Colombia, Venezuela, México, Uruguay, Puerto Rico, Chile y Costa Rica. Para facilitar su circulación en Costa Rica, el volumen que ahora nos ocupa en esta reseña también fue pu- blicado por la Editorial Universidad Técnica Nacional de Costa Rica. Algo particularmente llamativo de los libros de esta colección es su uni- dad metodológica y acercamiento teórico. Por lo general, las compilaciones de ensayos de análisis literario, aunque bien podrían enfocar cierto país, cierta re- gión, algún momento histórico específico y/o también explorar una perspectiva común, como la feminista, las metodologías y los marcos teóricos empleados por los ensayistas tienden a variar bastante, lo cual podría promover visiones diversas sobre la literatura estudiada. Sin embargo, si el objetivo es fomentar más investigación de la dramaturgia analizada, el cual sí es una de las metas pro- puestas por García Barrientos para esta colección, entonces su unidad metodo- lógica y teórica forma una base sistemática para futuros estudios comparativos del teatro de los diferentes países hispanohablantes analizados en este proyecto. Otra característica destacada de este volumen es su selección de la dra- maturgia costarricense como objeto de estudio ya que existen menos estudios divulgados sobre ella en comparación con los sobre el teatro de los demás países incluidos en el proyecto. Esto cumple con el objetivo del director García Ba- rrientos de enfocar “entre los diez teatros nacionales, uno o dos menos obvios o más desconocidos” (12). La inclusión de Costa Rica se debe al empeño del dramaturgo Jorge Arroyo como gestor cultural, quien se enteró del proyecto y personalmente se contactó con el director para ver si le interesaría estudiar la dramaturgia de su país. Siendo el primer libro publicado en el extranjero que se dedica solamente al análisis de la dramaturgia costarricense, seguramente este volumen animará a más estudiosos a difundir afuera de Costa Rica sus investigaciones sobre este teatro de tan alta calidad, continuando con la labor ya inicada por estudiosos con la publicación de artículos y ensayos en Estados Unidos, México y Colombia.1 Istmo. Revista virtual de estudios literarios y culturales centroamericanos 39 (2019): 105-111. 1 Como ejemplos, ver: Cramsie, Hilde F. “La marginación lingüística y social de la mujer en dos obras de Ana Istarú”. Mujer y sociedad en América Latina. Westminster, California: Inst. Literario y Cultural Hispánico, 1990. Los estudios que componen el dossier sobre teatro centroamericano Sobre Análisis de la dramaturgia costarricense actual (2018) Elaine M. Miller 107 El grupo de investigación de este volumen, al igual que los de los demás libros de la serie, viene de diferentes países hispanos, contribuyendo análisis he- chos dentro y fuera del país estudiado. En este caso, los ensayistas son tres cos- tarricenses (Patricia Fumero, Verónica Ríos Quesada y Dina Espinosa Brilla), dos argentinos (Germán Brignone y Mauricio Tossi) y dos españoles (José-Luis García Barrientos y Miguel Carrera Garrido). En cuanto a la estructura del volumen, después del esclarecedor ensayo de Patricia Fumero titulado “Teatro costarricense de fines de siglo XX e inicios del XXI”, el cual nos provee con el contexto histórico-cultural necesario para mejor comprender los estudios sobre el trabajo de cada dramaturgo, el director García Barrientos expone el método seguido por los ensayistas. Luego, para cada dramaturgo seleccionado, hay dos ensayos. El primero presenta un análisis a fondo de una obra representativa mientras el segundo desarrolla un perfil de su dramaturgia completa. El uso de un acercamiento teórico común en el proyecto “Análisis de la dramaturgia actual en español” nos hace reflexionar acerca de la variedad de aproximaciones críticas a una obra de teatro. Algunos investigadores la estudian como texto literario, sin tener en cuenta su puesta en escena posible o real ante un público. Si los estudiosos quieren abarcar su dimensión performática, tienen varias opciones. Por ejemplo, se puede basar el análisis en alguna representa- ción específica de la obra, cuyo acceso es más fácil en el presente gracias a la tecnología. Otra opción es trabajar con el texto dramático, la transcripción de un espectáculo hecha por la persona que lo dirigió. Si la obra no se ha montado to- davía o no hay acceso al espectáculo ni al texto dramático, a los investigadores Istmo. Revista virtual de estudios literarios y culturales centroamericanos 39 (2019): 105-111. les podría servir el método que siguen todos los ensayos de este volumen y que también propone el director García Barrientos en su conocídismo libro Cómo se comenta una obra de teatro (2001), el cual se basa en la dramatología que él define en el libro que nos ocupa como “la teoría del modo teatral de repre- sentar ficciones” (23). García Barrientos parte de ciertas definiciones reconoci- das en el campo de los estudios teatrales. Por ejemplo, entiende el teatro como “espectáculo”, mientras el drama como “la fábula escenificada, el argumento dispuesto para el teatro” (24). Hay que resaltar que García Barrientos, al usar el término “drama”, tiene en cuenta tanto el texto como la representación, y, por lo tanto, formula un modelo de análisis que abarca ambos componentes de una obra teatral. Como es un acercamiento empleado por muchos estudiosos del teatro hoy en día, los libros de esta serie podrían servir como una excelente ilustración de este tipo de análisis teatral en clases universitarias en las que los estudiantes interpretan obras dramáticas por primera vez, examinándolas como “la codificación literaria […] del texto dramático que transcribe un drama vir- tual o imaginado” (25). En este caso, como en los de comentar el espectáculo o texto dramático, el elemento visual que forma parte de la recepción del público publicado en Istmo. Revista virtual de estudios literarios y culturales centroamericanos 18 (2009). Miller, Elaine M. “La política como performance en el teatro costarricense de la presente década: El metateatro y la denuncia de la corrupción”. Tramoya: Cuaderno de Teatro 102 (2010): 71-80. Miller, Elaine M. “Intertextualidad, género y relaciones de pareja en dos obras teatrales de la costarricense Mabel Marín”. Innovación en las letras femeninas de Latinoamérica. Eds. Gisela P. Dieter y Natalia María Ramírez López. Cali: Pontifícia Universidad Javeriana, 2018. 105-118. 108 Elaine M. Miller Sobre Análisis de la dramaturgia costarricense actual (2018) tiene importancia primordial en el análisis así como el tiempo, el espacio y el personaje. Luego de la exposición por García Barrientos del método empleado, apa- recen los análisis del trabajo de los dramaturgos costarricenses. Miguel Carrera Garrido primero examina Piel de Ángel (2001), obra sugerida por el propio Mi- guel Rojas como una de las más representativas de su producción, una alegoría de alcance universal que presenta la leyenda de La Llorona. Enfatizando cómo la sociedad dominada por la superstición y la doble moral donde vive ella le hace sufrir la obra cuestiona el concepto de honor para la mujer y plantea el
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